1+1=3 G.E. Marx Vigo, a third mind
In the context of the civil-military dictatorship in the Argentine Republic, emergency strategies begin to be produced in order to make known the reality of the country silenced by censorship and the complicity of general public opinion. Correo Art begins to transform into the bastion of resistance...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Editorial de la Facultad de Artes
2024
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/avances/article/view/45514 |
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I10-R310-article-455142025-03-28T18:16:45Z 1+1=3 G.E. Marx Vigo, a third mind 1+1=3 G.E. Marx Vigo, una tercera mente Madoery, Alicia Arte Correo red firma conjunta montaje alegoría Mail Art net joint-signature mounting allegory In the context of the civil-military dictatorship in the Argentine Republic, emergency strategies begin to be produced in order to make known the reality of the country silenced by censorship and the complicity of general public opinion. Correo Art begins to transform into the bastion of resistance to the attacks of repression. In 1976, the son of the plastic artist Edgardo Antonio Vigo, Palomo, was kidnapped from his home. In 1977, Vigo proposed to work as a joint firm with the artist from La Plata, Graciela Gutiérrez Marx, as a form of support to gather strength to communicate what was happening and combat the horror of disappearances. The joint firm was born based on the game of their names merged. The idea of a third mind coined by Vittore Baroni suggests a splitting of subjectivities to try to express what hurts directly, an alter ego that allows witnessing and expressing what trauma does not allow. Faced with the logic of horror promoted by the state, this performative action of reinventing a third level of speech becomes the outlet that allows the process of mourning and a certain melancholy of disaffection. En el contexto de la dictadura cívico-militar en la República Argentina comienzan a producirse estrategias de emergencia para poder dar a conocer la realidad del país acallada por la censura y la complicidad de la opinión pública general. El Arte Correo comienza a transformarse en el bastión de resistencia a los embates de la represión. En 1976 el hijo del artista plástico Edgardo Antonio Vigo, Palomo, es secuestrado de su hogar. En el año 1977 Vigo le propone a la artista platense Graciela Gutiérrez Marx trabajar en firma conjunta, como un modo de apoyo para reunir fuerzas para comunicar lo que sucedía y combatir el horror de las desapariciones. A partir de allí, nace la firma conjunta en base al juego de sus nombres fusionados. La idea de una tercera mente, acuñada por Vittore Baroni (2007), hace pensar en un desdoblamiento de las subjetividades para intentar expresar aquello que hiere de manera directa; un alter ego que permita testimoniar y expresar lo que el trauma no permite. Ante la lógica del horror propiciada por el Estado, esta acción performática de reinventar un tercer estamento del habla se transforma en la salida que permite el proceso de duelo y cierta melancolía de la desafectación. Editorial de la Facultad de Artes 2024-07-05 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Double-Blind Peer Review Paper Artículo revisados por pares (doble ciego) application/pdf text/html application/epub+zip https://revistas.unc.edu.ar/index.php/avances/article/view/45514 Avances; Núm. 33 (2024); 297-313 2718-6555 1667-927X spa https://revistas.unc.edu.ar/index.php/avances/article/view/45514/45660 https://revistas.unc.edu.ar/index.php/avances/article/view/45514/45661 https://revistas.unc.edu.ar/index.php/avances/article/view/45514/45663 Derechos de autor 2024 Alicia Madoery https://creativecommons.org/licenses/by-nc-sa/4.0 |
| institution |
Universidad Nacional de Córdoba |
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I-10 |
| repository_str |
R-310 |
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Avances |
| language |
Español |
| format |
Artículo revista |
| topic |
Arte Correo red firma conjunta montaje alegoría Mail Art net joint-signature mounting allegory |
| spellingShingle |
Arte Correo red firma conjunta montaje alegoría Mail Art net joint-signature mounting allegory Madoery, Alicia 1+1=3 G.E. Marx Vigo, a third mind |
| topic_facet |
Arte Correo red firma conjunta montaje alegoría Mail Art net joint-signature mounting allegory |
| author |
Madoery, Alicia |
| author_facet |
Madoery, Alicia |
| author_sort |
Madoery, Alicia |
| title |
1+1=3 G.E. Marx Vigo, a third mind |
| title_short |
1+1=3 G.E. Marx Vigo, a third mind |
| title_full |
1+1=3 G.E. Marx Vigo, a third mind |
| title_fullStr |
1+1=3 G.E. Marx Vigo, a third mind |
| title_full_unstemmed |
1+1=3 G.E. Marx Vigo, a third mind |
| title_sort |
1+1=3 g.e. marx vigo, a third mind |
| description |
In the context of the civil-military dictatorship in the Argentine Republic, emergency strategies begin to be produced in order to make known the reality of the country silenced by censorship and the complicity of general public opinion. Correo Art begins to transform into the bastion of resistance to the attacks of repression. In 1976, the son of the plastic artist Edgardo Antonio Vigo, Palomo, was kidnapped from his home. In 1977, Vigo proposed to work as a joint firm with the artist from La Plata, Graciela Gutiérrez Marx, as a form of support to gather strength to communicate what was happening and combat the horror of disappearances. The joint firm was born based on the game of their names merged. The idea of a third mind coined by Vittore Baroni suggests a splitting of subjectivities to try to express what hurts directly, an alter ego that allows witnessing and expressing what trauma does not allow. Faced with the logic of horror promoted by the state, this performative action of reinventing a third level of speech becomes the outlet that allows the process of mourning and a certain melancholy of disaffection. |
| publisher |
Editorial de la Facultad de Artes |
| publishDate |
2024 |
| url |
https://revistas.unc.edu.ar/index.php/avances/article/view/45514 |
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2024-09-03T20:28:54Z |
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